The recurrent pose 33

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A double helping of that pose today. The photo above was a tip from commenter Jeremiah Q. Oxterwhiff and is credited on its Tumblr source as being by gay photographer Fred Holland Day (1864–1933). I can’t definitely confirm this but I’m fairly sure I’ve seen it credited to Day before. It’s also the case that another of the photographer’s pictures used the same pose and happens to be part of the first post in this series.

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This depiction of Superman’s day off is by Worth1000 contributor jbuck43701 and was another tip from Evan Peterson. Thanks Evan!

Elsewhere on { feuilleton }
The recurrent pose archive

Previously on { feuilleton }
Fred Holland Day

Storm Thorgerson: Right But Wrong

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Storm Thorgerson, he of the great design partnership Hipgnosis, has some of his album covers and other work in exhibition this month at the Idea Generation Gallery, London. The exhibition runs to May 2nd. This Sunday (April 11th) he’ll be signing copies of his books at the gallery from 2pm.

Alongside some of the most iconic images from his seminal career, the exhibition will include previously unseen sculptures, sketches and writings from the artist. Right But Wrong will provide an in-depth account of the artist and the processes behind some of the artist’s most acclaimed works. Especially for Idea Generation Gallery, Storm will also present a number of brand new site-specific installations, including ambitious reinterpretations of a few his most renowned pieces. (More.)

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Go 2 by XTC (1978).

News of the exhibition inspired the BBC news site to create a slideshow featuring Hipgnosis covers and examples of Thorgerson’s post-Hipgnosis work. Everyone invariably throws up a Pink Floyd cover when discussing Hipgnosis. Rather than do that, allow me to point you to XTC’s Go 2 album from 1978, the last word (so to speak) in self-referential album design.

Elsewhere on { feuilleton }
The album covers archive

Dorothea Tanning: Early Designs for the Stage

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Monstre from The Witch (1950).

If this squid-headed costume design by Surrealist artist Dorothea Tanning isn’t a unique creation in the history of ballet then I’d like to know what challenges it. These paintings form part of an exhibition of Tanning’s designs for ballet companies which go on display at The Drawing Center, New York from April 23–July 23, 2010. The press release mentions her collaborations as being with George Balanchine but The Witch was choreographed by John Cranko after a score by Maurice Ravel.

Dating from 1945–1953, the designs will be shown together for the first time, and will be accompanied by archival photographs and ephemera related to the staged productions.  This series explores the dynamic intersections of dance, performance, visual art, and costume, while drawing important parallels to Tanning’s early discoveries in both painting and sculpture. (More.)

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The Butlers from The Witch (1950).

Via BibliOdyssey.

Previously on { feuilleton }
Angels of Anarchy: Women Artists and Surrealism
Surrealist women

Salome’s Last Dance

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More Wildeana. It’s taken me over two decades to watch this film, and while I can’t really say it was worth the wait it was more entertaining than I expected. Salome’s Last Dance was directed in 1988 by Ken Russell and is his own typically mannered adaptation of the Wilde play. It appeared around the same time as his adaptation of another Victorian work, Bram Stoker’s The Lair of the White Worm, and it was the latter film which caused me to lose my patience with Russell’s excesses and so ignore this one. In Salome’s Last Dance we have Oscar Wilde and Lord Alfred Douglas visiting Alfred Taylor’s London brothel one night in 1892 where Taylor and company stage a performance of Wilde’s banned play.

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Aubrey Beardsley’s illustrations appear in the title sequence.

If you’re a Wilde enthusiast there are at least two ways you may take this; you can be appalled by Russell’s “translation” of Wilde’s words (Salomé was written in French then translated for English publication in 1894; there’s no reason to re-translate a version the author approved), a translation which is really more of an adaptation, with much of the poetic monologue removed and the tone lowered for a general audience—Wilde’s “Iokannen” is vulgarised to “John the Baptist” throughout. Or you can try and enjoy what is at least a complete performance of the play, even though it more often resembles Carry On Salomé than anything one might have expected Sarah Bernhardt to perform. Injecting a Symbolist drama with slapstick and grotesquery is probably inevitable given the director (Russell is also co-writer and he plays—badly—the role of the Cappadocian). I found it impossible to decide whether Russell was sending up the play because he found it too pompous or whether he felt that an audience wouldn’t sit still for it otherwise. Whatever his intention, the premise is intriguing enough to inspire speculation as to how it might have been treated by other hands.

Continue reading “Salome’s Last Dance”

The Oscar Wilde Galop

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When Oscar Wilde arrived in America to begin his lecture tour in 1882 the excursion provoked considerable comment on both sides of the Atlantic. Wilde was there in his capacity as an ambassador for Aestheticism, a position which had already made him a figure of fun in the pages of Punch magazine while the Aesthetes generally and Wilde in particular had been caricatured the year before by Gilbert & Sullivan in their opera, Patience. The Oscar Wilde Galop was one of a number of topical dance pieces which capitalised on Wilde’s arrival in America, the full score of which can be seen in the Levy Sheet Music Collection at Johns Hopkins University. No one seems to give the name of the composer of these works for some reason, but this piece and others like it can be found on a CD, To Oscar: A Collection of Aesthetic Melodies.

I suspect Oscar would have been flattered by his portrayal on the sheet music, it’s milder than the Punch cartoons and gives him a wasp waist he never possessed even in his youth. Wilde enjoyed his lecture tour, and was always happy to be the centre of attention, of course, but America (and others) paid the price for the ribbing later on, as in this exchange from The Picture of Dorian Gray:

“I am told, on excellent authority, that her father keeps an American dry-goods store,” said Sir Thomas Burdon, looking supercilious.

“My uncle has already suggested pork-packing Sir Thomas.”

“Dry-goods! What are American dry-goods?” asked the duchess, raising her large hands in wonder and accentuating the verb.

“American novels,” answered Lord Henry, helping himself to some quail.

The duchess looked puzzled.

“Don’t mind him, my dear,” whispered Lady Agatha. “He never means anything that he says.”

“When America was discovered,” said the Radical member—and he began to give some wearisome facts. Like all people who try to exhaust a subject, he exhausted his listeners. The duchess sighed and exercised her privilege of interruption. “I wish to goodness it never had been discovered at all!” she exclaimed. “Really, our girls have no chance nowadays. It is most unfair.”

“Perhaps, after all, America never has been discovered,” said Mr. Erskine; “I myself would say that it had merely been detected.”

“Oh! but I have seen specimens of the inhabitants,” answered the duchess vaguely. “I must confess that most of them are extremely pretty. And they dress well, too. They get all their dresses in Paris. I wish I could afford to do the same.”

“They say that when good Americans die they go to Paris,” chuckled Sir Thomas, who had a large wardrobe of Humour’s cast-off clothes.

“Really! And where do bad Americans go to when they die?” inquired the duchess.

“They go to America,” murmured Lord Henry.

Elsewhere on { feuilleton }
The Oscar Wilde archive